not all of the non-loefah related swamp stuff is bad
half of that stuff is inspired by jakes lol
This thread’s still going?
Whenever friends send me riddim tunes I just send them Jake’s tunes from like 6 years ago lol
Been waiting for this
tl;dr passed tha treally funny bit with the labels around 139. #DSFmomentz
As far as deep dubstep goes, I think it’s starting to come back. Sure, it’ll never be like the way it was back in 2005, but I still think it’s great. However, “brostep” is continuing to get worse and worse in my opinion. It was alright back in 2010-2013, but after that, it went downhill.
During 2013 when I first got into dubstep, brostep was a big thing for me and I was trying to avoid it like the plague. However, now that I follow grime more than dubstep and I also listen to very niche soundcloud producers, brostep feels like a distant memory. On the occasion it pops up on my radar / soundcloud feed / whatever again I really just don’t care about it anymore. The hype’s for it died down hugely compared to the past couple years, although I guess it really depends on what you point your ears to. At least dubstep’s still burgeoning through labels like Innamind, but the OG labels like Tempa and Tectonic are going increasingly leftfield / what’s prevalent in murky club music right now. The last time I bought a dubstep record though was last year.
who thinks about where a genre is going and not where ur favorite artists are going
That to me is the hardest thing to gauge, because sometimes there are people that come out and take things that we’re familiar with and turn them on their heads. James Blake did that at first in my opinion, unfortunately with music critics and others prematurely labeling what he did as “post-dubstep” and his creativity kind of waned, it ended up not really going much of anywhere.
To me the only way to gauge where it’s going to go is just to remain open to sounds and accept that you may never know where the next direction is. Like the kind of “dubwise” trend within the dubstep scene, I mean it makes perfect sense that that became a more trending sound because artists and DJs were looking back at the roots of dubstep again in a more widespread way, maybe as a kind of search for a direction. But I don’t know, I’m just kind of guessing.
but what im saying is that how can you say you’re into dubstep moreso than saying you’re into a specific artist
it’s like saying that you’re stuck on a flavor of one time period and cant move on, like those idiots who still rock beards in 2016
Yes man. large up
Oh I gotcha, I thought you were asking it, but you were saying in a more rhetorical sense.
what is still happening to “dubstep” in Oz
the urge to become a commercial music-maker, just like mum & dad,
often leads the lazy to rip off & make crass any source of music
but, despite fooling the gullible youth for awhile, fatuousness eventually gets found out.
Talented innovators will emerge;
sometimes we’ve just got to dig for them cos often they’re shy & celebrity-averse.
I like the idea of a permanent revolution - like, it doesn’t matter if people want to settle down and make it conform to the dictates of top 40 and become a big star - it’s obsolete and you’ve gotta come up with something different every few.
Even tho the term is p b8, the “hardcore continuum” kinda sums up path of most ‘modern music’ in the vein of what this thread is about (imo)
I think an odd part is that most of us know a good deal about the past influences etc since 1990 (and beyond) or whatever but for a lot of those people here they’ve made their own journey of discovery in the past 5-10 years (including myself on a lot of the music i really feel influences me now). I can id records that were made when I was 1, but I’ve only gained that knowledge relatively recently. We have a strange view on the ‘roots’ of the scene, and frankly I dont think any of us can say shit about where its going. Plenty of UKG guys and even a lot of the proto-dubstep guys thought it was a lost cause, or worse, since day 1.
(drunk post warning)
very very true